Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from St Lucia and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing 48th St. Collective to the rap kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Wally Richardson. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Clear Light,
Marcia Griffiths,
Sixth Finger,
X-102,
Man Eating Sloth,
The Pop Group,
Sexual Harrassment,
Chris Corsano,
This Heat,
Nik Kershaw,
Franke,
Red Lorry Yellow Lorry,
LL Cool J,
DNA,
James White and The Blacks,
Marc Almond,
Wire,
Cluster,
The New Christs,
Sun Ra,
Terrestrial Tones,
The Count Five,
Smog,
Kas Product,
Sonic Youth,
The Fortunes,
The Walker Brothers,
Siglo XX,
Alison Limerick,
X-Ray Spex,
Skriet,
Interpol,
Television Personalities,
Joe Finger,
Soulsonic Force,
Gregory Isaacs,
Lindisfarne,
Sparks,
Maurizio,
Rotary Connection,
Pet Shop Boys,
Camouflage,
the Association,
Aural Exciters,
Quadrant,
Lou Reed,
Pierre Henry,
the Fania All-Stars,
Tres Demented,
Donny Hathaway,
Boogie Down Productions,
The Gap Band,
Todd Rundgren,
Von Mondo,
Visionaries,LMNO, T- Love & Iriscience,
Pantytec,
Groovy Waters,
Circle Jerks,
The Durutti Column,
Joy Division,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.